This article was originally published on Common Edge.

"I hate this whole ‘beauty’ thing,” says a deeply talented architect and professor friend, reacting to an emerging ripple in the zeitgeist. He is not alone. Words are dangerous things. Since World War II, there has been a consensus mainstream in architecture: the Modernist canon. But change is coming in the profession—and in our culture.

The true believers cringe at the word “beauty” as a design criterion. They dismiss the word “style,” too. Like all orthodoxies, there is simply “right” and “wrong.” The realities of the “wrong” are writ large in architectural orthodoxy: “wrong” is anything allusive to anything but that canon itself. Closed-loop rationalization gives comfort to the convicted.

The Hello Wood Summer School and Festival has expanded over the years to build up a lot of recognition internationally within the architecture community, with previous years having more than 1000 participants from across 70 countries and over 50 universities take part in Hello Wood’s educational event. By looking to the future and adopting an attitude of rebirth, a large part of the tenth anniversary of the festival was about criticism of the stereotypical role of the architect - one that is constrained by expectations and deadlines - while searching for the true superpower of those that want to make a change with a free spirit. Twenty workshops led by a truly global group of professionals helped to celebrate the decennial with their unique takes on the transformation of the architect. As a result of a series of rites and ceremonies that included the building of 20 installations, the week aimed at setting participants free to follow their dreams.

Although music halls generally appeal to groups of people with a specific interest, Persian architecture firm Hajizadeh & Associates developed a music hall that caters to all citizens of the city, and not just music lovers.

The "Tokyo Music Hall" is an award-winning design that transforms the music hall's roof into a space of contemplation and leisure, inspired by traditional Japanese architecture.

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Writing is an unending dialogue that has been connecting one generation to another, maintaining history, culture, and information. For the National Museum of World Writing, stories were built rather than written.

Just as writing transcends the author to another realms, SAMOO Architects and Engineers have proposed ‘PAGES’, a structure of architecturally-devised scripts that disconnects visitors from the outer world, and introduces them to an exceptional architectural narration.

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Chinese architect Mingfei Sun has designed an environmentally oriented urban hub for Masdar City, Abu Dhabi. Titled SURGE, its natural aesthetics and technological forwardness are intended to communicate a J.M.W. Turner-esque awe for the power of nature, making it an oasis of high aesthetic and ecological value.

Since its invention in 1920, cellular concrete tackled the search for an industrial material that had similar characteristics to wood. It was lightweight, could be cut or perforated, and avoided some of its disadvantages; for instance, its water absorption and need for maintenance. Nowadays, Autoclaved Aerated Concrete (AAC) blocks are actively present in the marketplace by manufacturers like Hebel or Retak, which are building an easy to use and efficient constructive system. If you ever wondered about how to build with these masonry ingredients, it is pertinent to dig a bit deeper into the advantages of this material.

In many ways, architectural models are strange objects. On one hand, like drawings, models are a representation of something else—a building—that might exist already but in most cases is so far only hypothetical. On the other hand, they are miniature constructions in themselves, which can be appreciated for their craftsmanship and intricacy. Perhaps this is why architects find models so fascinating; they can be simultaneously admired as an object in themselves and as a vision of something greater.

Earlier this year, we asked our readers to send us images of their most impressive models, and the response clearly showed this fascination. We received photographs of a wide variety of models, from sensible and meticulously constructed miniatures to jaw-dropping expressive outbursts. From over 300 entries, we've narrowed down our readers' submissions to just 21 of the most awe-inspiring examples, splitting them into 5 categories to reflect the incredible range of ways that people have made their models worth looking at.

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British company Kast has launched a new version of its traditional pigmented concrete sinks. Since concrete is an extremely versatile material, which combines the characteristics of natural stone with the ability to be molded in different forms, the products show carved surfaces with highly defined textures. The exploration of their linear patterns ranges from smooth horizontal ripples to diagonal folds or 'sharp' and vertical grooves. The organic variations in the colors and textures of the surfaces create a different aesthetic that comes directly from the character of the material.

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Christophe Benichou Architecture's recent project Sesame is solitary and monolithic. Located in a desert, its facades are split open and fragmented, leaving parts of the walls slightly ajar. In each of these cavities sit icons of domesticity, including a bed, table, bathtub, sink, and toilet. 

The importance of nature and sustaining it has become a crucial feature in most contemporary projects. While some architects sustain nature by constructing with environmental-friendly material, others make way for the greenery to intervene with the structure, blurring the boundaries between man-made and Earth.

For the Chungnam Sports Center design competition, ANU Design Group created "Edgeless Sports Park", a series of oval-shaped structures that complement the hilly landscape and merge its greenery with the architecture.

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Villages and cities in Iran have always had a fixed low-rise horizontal skyline due to the lack of beam and column technology. Although some cities have already adopted contemporary styles and have constructed soaring skyscrapers, but the majority of towns remain committed to traditional building techniques.

Iranian architect Mohammad Hassan Forouzanfar decided to give traditional Iranian architecture a structural upgrade but kept its main features intact. In his conceptual creations titled "Retrofuturism", the architect used traditionally-designed houses as a starting point, but introduced them to the modern world of skyscrapers and surreal forms, mixing both styles together.

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Design:ED Podcast is an inside look into the field of architecture told from the perspective of individuals that are leading the industry. This motivational series grants unique insight into the making of a successful design career, from humble beginnings to worldwide recognition. Every week, featured guests share their personal highs and lows on their journey to success, that is sure to inspire audiences at all levels of the industry. Listening to their stories will provide a rare blueprint for anyone seeking to advance their career, and elevate their work to the next level.

In this episode, Brian MacKay-Lyons discusses the importance of maintaining your integrity as a designer, the lessons he learned from working closely with Charles Moore, and how he began his own firm MacKay-Lyons Sweetapple in Nova Scotia.

This article was originally published on Common Edge.

Architecture lost itself in an identity crisis not long ago. The discipline wandered in self-reflection, reexamining how practitioners go about their work, how the built environment should appear, and why. Movements came and went. Promising paths dead-ended. Eventually, the profession gave up looking for ways out of its uncertainty, leaving us where we are today.

In premodern eras, new construction techniques, evolving opinions on art, and shifting societal beliefs drove styles. Advances were slow, but once established, became long-lived norms. The Gothic period lasted four centuries, the Renaissance three. From the nineteenth century on, though, more than a hundred aesthetic and philosophical movements lived quickly and died. As historian Charles Jencks notes, there were “a plurality of live architectural traditions” even during the International Style’s forty-year hegemonic heyday.

As an architect, critic and winner of the 2002 Pritzker Prize, Glenn Murcutt, (born 25 July 1936) has designed some of Australia's most innovative and environmentally sensitive buildings over a long career—and yet he still remains a one man office. Despite working on his own, primarily on private residences and exclusively in Australia, his buildings have had a huge influence across the world and his motto of "touch the earth lightly" is internationally recognized as a way to foster harmonious, adaptable structures that work with the surrounding landscape instead of competing with it.